Einem: Der Besuch der alten Dame (The Visit)

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Von Einem’s music chases Dürrenmatt’s scene-setting most (almost too) faithfully with colourful often loud tone-painting…The performance sounds well-organised (by conductor Stein) and fluent... — Gramophone Magazine, June 2018 More…

Release Date: 13th Apr 2018
Catalogue No: C930182I
Label: Orfeo
Series: Wiener Staatsoper Live
Length: 2 hours 15 minutes

Usually despatched in 3 - 4 working days

Einem: Der Besuch der alten Dame, Op. 35

Work length2:15:12

$37.00

$48.10

$64.75

Emmy Loose (soprano), Ana Higueras-Aragón (soprano), Elmar Breneis (tenor), Ewald Aichberger (tenor), Wilhelm Lenninger (vocals), Kurt Equiluz (tenor), Laurence Dutoit (soprano), Margarete Sjöstedt (contralto), Eberhard Wächter (baritone), Harald Pröglhöf (baritone), Hans Beirer (tenor), Manfred Jungwirth (bass), Hans Christian (vocals), Hans Hotter (bass-baritone), Christa Ludwig (mezzo-soprano), Hans Braun (baritone), Alois Pernerstorfer (baritone), Fritz Sperlbauer (tenor), Karl Terkal (tenor), Siegfried Rudolf Frese (bass-baritone), Heinz Zednik (tenor)
Wiener Staatsoper
Horst Stein
Recorded: 23 May 1971
Recording Venue: Vienna State Opera

Act I: Bahnhof I. Die Gudrun - Hamburg Neapel

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Act I: Mit dem einuhrdreizehn Personenzug von Kalberstadt

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Act I: Ist hier Güllen?

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Act I: Verehrte, gnädige Frau

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Act I: Gnädige Frau

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Act I: Wir sind in Güllen. Wir riechen's

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Act I: Zwischenspiel I - Konradsweilerwald I. Wir sind Fichten, Föhren, Buchen - Der Konradsweilerwald

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Act I: Ich schätze Zigarren

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Act I: Zwischenspiel II - Goldener Apostel

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Act I: Der Beifallssturm gilt Ihnen, verehrte gnädige Frau

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Act I: Gnädige Frau, meine lieben Güllener

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Act I: Bürgermeister, Güllener. Eure selbstlose Freude

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Act I: Es ist so. Verjährt, alles verjährt!

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Act II: Einleitung - Spezereihandlung I. Kränze. Jeden Morgen bringen sie die

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Act II: Milch, Herr Ill

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Act II: Zwischenspiel III - Sakristei

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Act II: Treten Sie ein, Ill, in die Sakristei

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Act II: Zwischenspiel IV - Bahnhof II. Grüß Gott, Ill

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Act III: Petersche Scheune. Der Arzt und der Lehrer

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Act III: Frau Zachanassian. Reden wir offen miteinander

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Act III: Es war Winter einst, als ich dieses Städtchen verließ

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Act III: Zwischenspiel V - Spezereihandlung II

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Act III: Alles neu. Modern wie dies jetzt bei uns aussieht

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Act III: Guten Abend, Ill

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Act III: Bürgermeister! Ich bin durch eine Hölle gegangen

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Act III: Zwischenspiel VI - Konradsweilerwald II

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Act III: Wir sind Fichten, Föhren, Buchen

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Act III: Du hattest, ich meine, wir hatten ein Kind

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Act III: Ich danke Dir für die Kränze

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Act III: Zwischenspiel VII - Theatersaal

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Act III: Ich heiße die Gemeinde von Güllen willkommen

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Act III: Alfred III, ich habe an Sie eine Frage

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Act III: Schade. Herr Bürgermeister. Die Beleuchtung streikte

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Act III: Die Herren von der Presse

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Act III: Was ist denn hier los? - Herzschlag - Er ist wieder so, wie er war, vor langer Zeit

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Act III: Jubelfinale

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The 'tragic comedy' recorded here goes back to the middle of the twentieth century and is based on a work by an author who was of the view that 'a story is only fully thought through when the plot has taken a turn for the very worst', and who as a result decided that he could only write comedies. The pleasant simplicity of the language, the entertaining, apparent harmlessness of the plot, as manifested in the comic-like names of some of the protagonists, such as Toby, Roby, Koby and Loby, are in the sharpest possible contrast to the unmatched cruelty of the concept and action of the characters – that is to say, an utterly excessive, archaic campaign of feminine revenge. It is therefore quite appropriate that the composer, born 100 years ago, was no pioneer, any more than his librettist, of a bombastic avant-garde style that took itself too seriously. On the contrary, the unfathomable aspect of these merciless events is emphasised here by means of a clearly comprehensible and not entirely unentertaining approach. The premiere at the Vienna State Opera in 1971 was an unprecedented success that, according to the reviews, by far outshone popular repertoire opera premieres of previous years, and the production staged by Otto Schenk enjoyed a run of 39 performances. That success was no doubt thanks in part to its cast: accompanied by the Vienna State Opera Orchestra under Horst Stein, a first-rate ensemble with Hans Hotter as the teacher, Eberhard Wächter as the lamentable Alfred Ill, and above all, the outstanding Christa Ludwig as the richest woman in the world, Claire Zachanassian. Her name, according to the original play’s author Friedrich Dürrenmatt, is a conglomerate of Zacharoff, Onassis and Gulbenkian, and one might easily conclude that the lady whose birthday we are marking commands similar riches, embodying as she does the qualities of several top-flight singers. The artist, who will celebrate her ninetieth birthday this year, has contributed to the CD booklet notes personally, providing memories of the production, which are further proof of the magnitude of her artistic personality.

Reviews

June 2018

Von Einem’s music chases Dürrenmatt’s scene-setting most (almost too) faithfully with colourful often loud tone-painting…The performance sounds well-organised (by conductor Stein) and fluent with well-honed contributions from Ludwig (some vertiginous top notes included), Waechter, Hotter and Beirer.

Einem: Der Besuch der alten Dame (The Visit)

2 CDs

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